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mdemone
Mar 14, 2001

Lol that reminds me, I've had a hankering to re-read Stranger in a Strange Land. I know it's problematic as hell but for some reason I find it to be a comfort read.

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mdemone
Mar 14, 2001

This is pretty interesting because I've only read the first two Murderbots, but I automatically gendered it as masculine in my head.

I think the key is how it is "learning emotions" at a late developmental stage, which makes for the irony and humor, but also reminds me of how boys/men mature on a slower timescale than girls/women.

Basically I'm thinking of it like an autistic young man, even though that's obviously problematic it's apparently what my brain has decided to do.

mdemone
Mar 14, 2001

ClydeFrog posted:

Wow I really fell down the SCP wiki rabbit hole.

Nervously worries about what I might have forgotten

Google for the "scp to epub" GitHub site, they have tons of converted stories/entries with high-quality formatting.

mdemone
Mar 14, 2001

DACK FAYDEN posted:

Bradbury's not actively awful in his writing (although I believe he went hard on the anti-Islam at some point, or at least I have a vague recollection of that) but his writing is mostly... I don't really know the right way to put it. Aggressively folksy? It's like, small town Americana, and I understand why that gets canonized in a genre mostly defined by white men before the modern era but it's not actually good.

I think it's really good for younger readers. I have very fond memories of Bradbury, at least -- and I haven't really been able to enjoy him as an adult. Hmmm.

mdemone
Mar 14, 2001

Ccs posted:

That sounds a lot like a class I got to take in sophmore year of highschool. The first semester was "Great Books" (stuff like The Prince, Dante's Infenro, some other stuff I've forgotten) and half "Contemporary Literature" with Pattern Recognition by Gibson, Watchmen, and more stuff I can't remember. We kind of skipped by all the 1950-1970 sci-fi stuff though cause it wasn't contemporary enough. Really fun class, it was elective so people were actually excited to be there and discuss books. Right after that class I had my normal sophomore english class where the teacher couldn't get a bunch of STEM kids to give a poo poo about All Quiet on the Western Front or Catch-22.

Hell, that's better than 99% of the English classes I've ever seen in HS curricula.

Also if anyone doesn't like Catch-22, that's on them.

mdemone
Mar 14, 2001

A Proper Uppercut posted:

FYI, while the Culture books are really good, some of them go to some hosed up places, quite a departure from the Wayfarers books.

Speaking of this, I just picked up Surface Detail from the used-book shop and it is....uh, there is some content there to be warned about. It doesn't bother me but I can certainly see how it might be an issue for some readers.

mdemone
Mar 14, 2001

minema posted:

Yeah my fears were completely unfounded, I've read the whole book now and it was just that PoV character's thoughts and not repeated again, when seen from other characters PoV it's much more balanced

Yep, but that first chapter really sticks with you. Years after I read the trilogy, it's one of the clearest scenes in my memory. I seem to remember it being very sensuous prose and of course the main action is practically a climax despite being just fifteen pages into the book.

mdemone
Mar 14, 2001

withak posted:

I thought he said that Seveneves was the result of a "What if the moon exploded?" prompt.

No, his original thought experiment was "how can I plausibly make a setting where all these aliens are also clearly human-derived?"

It required scouring the planet's surface because he wanted to get them into space (or underground) before they started evolving away from each other.

A very frustrating book, there were parts of it that were interesting and the primary plot arc wasn't awful. But there's so much wrong with it, too -- and I still haven't read the last third of the book.

mdemone
Mar 14, 2001

I just found an old pulp copy of Harry Harrison's Deathworld Trilogy. I expected nothing, and yet it's compulsively readable. Do I need to find more from this guy?

mdemone
Mar 14, 2001

branedotorg posted:

West of Eden, his what if dinosaurs evolved instead of humans. It's a big sort of terrible but also a bit great.

Okay yeah that's my kind of dumb poo poo

mdemone
Mar 14, 2001

Runcible Cat posted:

Not quite what you're asking for, but Ian Watson's Queenmagic, Kingmagic starts off in a chess-based universe, which the protagonists escape to find themselves in universes based on other boardgames...

This sounds awful and amazing.

mdemone
Mar 14, 2001

freebooter posted:

Yeah I think that's what it came down to, I read them in the 2000s but if I'd been waiting years for the next book in a great series and then got a very long flashback I would have been annoyed.

Allow me to assure you, as someone who bought DT III when it first came out, that "annoyed" does not cover it.

I was absolutely convinced the son of a bitch was gonna die without finishing it, and then he got hit by a van.

mdemone
Mar 14, 2001

FPyat posted:

Hanya Yanagihara has also written a Cloud Atlas-like book called To Paradise.

No. Hell no. Naw. Nope.

mdemone
Mar 14, 2001

Anything Samuel R. Delany says on a topic, is the final word on that topic.

edit: OH WOW WAS I WRONG ABOUT THAT

mdemone fucked around with this message at 16:36 on May 23, 2022

mdemone
Mar 14, 2001

General Battuta posted:

With a few possible exceptions about NAMBLA I think.

Aw c'mon, say it ain't so. :argh:

mdemone
Mar 14, 2001

*throws hat down and stomps on it*

Well goddamnit

mdemone
Mar 14, 2001

3D Megadoodoo posted:

YA is 100% an Anglo thing. Just read books in adult languages.

More specifically, it's a publishing thing. American capitalism, as usual.

mdemone
Mar 14, 2001

StrixNebulosa posted:

Written by a man who kept children in literal cages so uh

:staredog:

mdemone
Mar 14, 2001

zoux posted:

I think I got to the part where he was well, actuallying his magic teacher as a freshman at Magic U while all the comely wench co-eds swooned - this is after owning some magic jock with banter - and then I was like, ok what does this author look like, does he look like I bet, and he did.

If he ever publishes the last book, I'll read it, but I won't be happy about it.

mdemone
Mar 14, 2001

Captain Monkey posted:

Was that before or after he was a world class acrobat prodigy at age 7, who immediately accidentally mastered magic after one conversation with a wandering wizard, but was TOO GOOD at magic and almost hurt himself, but totally didn't actually suffer any negative effects from how he was too awesome at magic?

After that, but before he out-fucks the sex fairy

mdemone
Mar 14, 2001

General Battuta posted:

I NARUTO RUN AT THE FOOTBALL WITH MY THERMAL AND LIDAR LOCKED ON TO ITS POLYVINYL STITCHES PREPARED TO PUNT THAT MOTHERFUCKER INTO ORBIT BUT LUCY DISPERSES PARTICULATES AND FLARES AND WHEN I DO MY KI SHOUT AND ENGAGE THE EXOASSISTED POWER KICK THERE'S NOTHING THERE CAUSE SHE PULLED THE FOOTBALL OUTTA THE WAY AND ALL I DO IS FALL SO HARD I FRACTURE MY rear end AND poo poo MY CYBERPANTS

Mr. Musk, phone call on line 3, Mr. Musk, line 3

mdemone
Mar 14, 2001

Tiny Timbs posted:

This poster’s funeral will be a private affair and we ask that instead of attending in person you consider donating to a charity they would have supported

I’ve done some soul searching and reminded myself that some of my resentment for Catcher in the Rye may have come from my teacher exploring “Hold on to the Caul, field” as our intro to literary analysis. In my classes the education was very focused on “literally everything is a symbol and represents a theme so write a paper on the imagery of drapes blowing as they relate to some socioeconomic issue.” I really, really hated that approach and like other posters have said, felt like it undercut everything about the book telling a story and not some weird puzzle.

oh god I'm so sorry.

Holden is a child who is broken by trauma and will forever be stunted by it, and you can't read the book as an adult without feeling incredible empathy for him. assigning that novel to teenagers and expecting them NOT to try to identify with a teenage protagonist is folly, so of course they're put off by his actions and behaviors which are not at all explicable without understanding the trauma part.

Salinger was probably appalled that it became a book taught to students.

mdemone
Mar 14, 2001

General Battuta posted:

I agree with you - and that's why I don't think teleporters are particularly troubling. That's what they do, they turn you into nothing and then put you back together with different atoms. And atoms are all interchangeable.

Exactly! Consciousness arises from various processes happening in our meat bodies. If that meat falls apart but then gets put back together again right, so does the consciousness. I doubt anybody would be particularly afraid of a science fictional stasis field, which pauses the flow of time. Nobody really thinks it would exterminate their consciousness and replace it with an identical duplicate. But mechanically that's no different from what happens in a teleporter: an external period of non-activity, while internally nothing changes at all.

This is why it seems pretty clear to me that the "self" does not exist at all, and "you" only exist in the symbolic/linguistic order, not a physical order.

There is no continuity problem because emergent phenomena cannot constitute anything fixed that has to be continuously existing. I said that part badly but hopefully it gets the point across.

mdemone
Mar 14, 2001

Captain Monkey posted:

My point included the fact that the teleporter technology in Star Trek assumes that we do, because of the continuity of thought/personality. You're right that at this stage in our technological development we do not, but we also can't move matter via teleportation or travel between the stars at FTL either.

Even if the teleporters do not ensure continuity, there would be no way for anyone to tell.

My personal head canon is that the teleporters do in fact "kill" the Trek characters and then rebuild them elsewhere, but nobody notices because it's impossible to discern.

mdemone
Mar 14, 2001

Zoracle Zed posted:

is this thread caught in a time loop

We could have had this same conversation dozens, maybe even hundreds of times

mdemone
Mar 14, 2001

Captain Monkey posted:

If it's impossible to discern, then what's the difference? I'm not trying to be obtuse or argumentative, but like zoux pointed out, that gap in awareness is a natural part of the human experience. You aren't even the same entity that you were when you made your post, in the way that you'd have to define an entity if teleporters kill you.

Oh I agree. As I said, I think this points to the lack of existence of a "self" rather than anything particularly profound about our consciousness.

mdemone
Mar 14, 2001

Also read Sphere, if you somehow haven't.

mdemone
Mar 14, 2001

Well damnit now I have to reread Blindsight. Thanks you fuckers

mdemone
Mar 14, 2001

Mrenda posted:

I think it does, much like many existential books. Siri is pushed so far that he recognises he is human. Questions about whether he was human all along are irrelevant, the humanity was always there, and others would and did certainly recognise it. But the struggle to be and feel human, and at some point the recognition of this humanity is the very human thing. If he had opened up to others earlier he would have recognised it. And if he read Sartre, Camus or Beckett you'd hope he'd recognise it (he probably wouldn't.) But all these questions and examinations of what it is to be human exist. And, as I originally said, this story has monsters instead.

Maybe that's a fine backdrop for many people. Maybe it helps a lot of people. It didn't for me. For me, all along, I was just thinking the presumption Siri had that he wasn't human, or was wrong, was—in some fundamental way—was very sad. He has a lot of very uniquely human experiences but refuses to recognise them for what they are. And in the end Watts had to force a monster attacking him (the vampire) and the end of humanity (Scramblers to a degree, and the vampire uprising) to make him see it. That's very desperate stuff. It's extremes that have no bearing on what you or I would generally experience (except in fiction.) And the dedication he offers at the start, that I brought up at the start of my posting, "If we're not in pain, we're not alive" is a much more interesting question than one dressed in aliens, sentient or not.

I think Watts' authorial project is to place these questions of free will alongside the "life is pain" threads in order to test the boundaries of each proposition, not necessarily to relate them directly to each other.

And yes, Siri is a tragic character. However he's not roughed up nearly as badly as protagonists in some other Watts novels. Talk about your desperate straits...

mdemone
Mar 14, 2001

Nuclear Tourist posted:

Peter Watts and Joe Abercrombie once showed up at a bookstore I lived nearby at the time. Peter signed my copy of Blindsight and we chatted for a few moments. Seemed like a nice guy!

Never did get around to read Echopraxia though, how was that?

It was...good. I don't think it was as good as Blindsight, but then again, despite having some themes in common, it treads some different ground.

Definitely worth reading if you enjoyed Blindsight at all.

mdemone
Mar 14, 2001

To me, Watts' main strength is that you come away from his books with your philosophical imagination just firing on all cylinders. I kinda agree with you about the text of Blindsight; it's not nearly as tight as a lot of other examples in the genre. Somehow it sticks with you and the ideas keep festering, though...

mdemone
Mar 14, 2001

General Battuta posted:

Blindsight was one of the first works I can think of, in any field, which openly said "consciousness may not be a very important part of cognition".

Thomas Ligotti deals in very much the same currency. I think I encountered both authors around the same time in my life, which was fairly formative.

Edit: Cormac McCarthy goes there in his new duology as well

mdemone
Mar 14, 2001

I don't think Battuta is saying the thought doesn't exist in the world without this book, I think he's just saying that the text does manage to get you to ask that question. Pretty sure you just disagree, I don't think it was an insult.

mdemone
Mar 14, 2001

Remulak posted:

Great, now I need to read Blindsight again. Every time I do that it makes the trivial entertainment I usually read and enjoy feel like trivial entertainment I can’t enjoy and a waste of time. Ah well.

I'm already 80 pages in. Again.

mdemone
Mar 14, 2001

sebmojo posted:

Yeah, it's an incredible book in many ways but iirc it's kind of a mess, like the movie sunshine, where structural elements damage the overall effect despite a bunch of individual strengths

Could have definitely used an experienced editor, which it obviously did not have.

mdemone
Mar 14, 2001

Mrenda posted:

He's asked a lot of questions. He answered them with a fight. We've talked about the novel, some—to me—good conversations. Is that good enough? Absolutely. Did the novel start off with promise, for me, and end in a place I didn't fully enjoy? Yes.

I think I've identified your main issue with the text. It lacks the structure that we associate with high art, with advanced symmetries. Which is certainly true, but a novel can succeed and inspire without having much structure -- just ask Stephen King, who famously doesn't outline or draft: he just starts writing poo poo down.

I think it's just that Peter Watts isn't necessarily a "trained writer", beyond a certain knack with phrasing and his technical-writing skill from a scientific background, and he had a poo poo ton of awesome ideas without the experience to be able to fully shape that into a Really Great Novel.

mdemone
Mar 14, 2001

fritz posted:

Haven't read Blindsight, but if I scramblerize myself can I still face to bloodshed?

Imagine you are Siri Keeton...

mdemone
Mar 14, 2001

I just came across a relevant passage:

quote:

“It says it wants to be left alone," Szpindel said. "Even if it doesn't mean it.”

mdemone
Mar 14, 2001

Hieronymous Alloy posted:

FWIW my personal belief is that if consciousness weren't adaptive it wouldn't have been so heavily selected for.

Consciousness wasn't selected for by a natural process. It allowed us to hijack the natural process and break out perpendicularly to it. The most fit organisms on the planet, the ones who have remained basically the same for hundreds of millions of years, do not have consciousness or anything approaching it. The fact that self-aware conciousness has been "successful" in reproducing itself doesn't mean anything in the evolutionary sense because evolution gives not a single poo poo about timescales like human history.

quote:

I have a hard time wrapping my head around an entity with a sense of self-preservation but no sense of self

Sharks. Most birds. Insects. Or basically any animal that is not a higher primate or a dolphin or a whale.

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mdemone
Mar 14, 2001

General Battuta posted:

There's an interesting hypothesis, in research about pain, which suggests that some squid can't feel pain as a localized phenomenon—because, well, what could they do about it? Squid are generally small and highly edible. It doesn't really matter how or where they're hurt, just that they get away from whatever's hurting them. So they just feel a general sense of 'injury' which causes them to emit remedial behaviors like 'run away'.

I don't really know if this is at all relevant to conversations about consciousness but I think it's neat.

Insects operate much the same way. They register damage, and try to avoid being damaged, but it's just like "welp now I've lost a wing"

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